十九世纪初法国革命时期，格里罗侯爵居住在罗马，他是一个肆无忌惮的享乐主义者，终日沉浸于各种荒唐事，直到革命最终来临，拿破仑率领法国人进入了罗马……
导演莫尼切利凭借此片第三次摘得柏林电影节最佳电影导演奖。

影片的主人公是年近30岁的5位年轻人，他们终日游手好闲，热衷于恶作剧并沉溺于梦幻般不切实际的计划里。其中最年长的浮士德让最年少的摩拉德的妹妹桑德拉怀了孕，基于责任心及周围人的力劝而结了婚。浮士德在一家古董店工作，但因为恶习不改企图勾引店主的老婆而被解雇。一天，桑德拉得知浮士德带着一名舞娘到一家廉价的旅馆过夜，于是第二天她带着孩子离家出走；狼狈的浮士德第一次感到桑德拉的重要性。于是和她的兄弟四人拼命寻找桑德拉的下落，终于找到桑德拉的浮士德一边遭到父亲的痛斥；一边恳求桑德拉的原谅。见到二人重修旧好的摩拉德在次日清晨不辞而别，踏上了自己的旅程。

这不是一部普通的纪录片，而是透过意大利电影大师费德里克．费里尼独特的艺术家眼光为罗马古都写出来的一篇个人回忆录。全片打破传统叙事手法，以现实与超现实场面交叉穿梭进行，渗入了大量的幻觉和回忆，充分表现出费德里克．费里尼个人对罗马的爱恋，也让观众看到了这个城市隐蔽着的另一面。男星彼得．龚扎莱斯在片中饰演年轻时代的费德里克．费里尼，而费德里克．费里尼则演出他自己，在片中可以看到马戏团对费氏作品根深蒂固的影响。也可以从中揣摩出费尼电影风格的一些基本特质，喜爱他的影迷不容错过。

1910年，“飞行器”是那个时代风行一时的事物。然而正因为它刚刚诞生，一切还处于起步阶段。英国每日邮报主编劳德·罗恩斯（罗伯特·莫利 Robert Morley饰）策划组织了一场从伦敦飞往巴黎的竞赛。而这次竞赛的目的，就是为了彰显英国种族的优越。如果一切都按照预期发展，不出所料的，他的女婿理查德·梅斯（詹姆斯·福克斯 James Fox饰）将赢得比赛。竞赛的新闻一经发出，就得到了来自世界各地飞行器爱好者的踊跃报名。然而这场本该是冒险者的比赛，却成为了一场争夺帕特里夏·罗恩斯利（莎拉·米尔斯 Sarah Miles饰）感情的竞赛。
本片荣获1966年第38届奥斯卡金像奖最佳原创剧本提名，1966年第23届金球奖电影类-音乐喜剧类最佳影片提名及音乐喜剧类最佳男主角提名。影片描写了不同国家的飞行员的个性：死板的德国人、阴险的法国人、傲慢的意大利人还有倒霉的日本人，而英国人和美国人则被刻画成互相帮助的好人。片中很多经典的桥段，被以后很多的喜剧片所争相效仿，向本片致敬。

伊凡带新婚妻子旺达到罗马度蜜月，这是历史上最缺乏浪漫色彩的蜜月之行，严格死板的安排便是与亲人朋友见面，会见主教等。但年轻貌美的旺达痴迷于一个源于浮华表面的卡通英雄，于是临阵逃婚，开始寻找她那神往的白酋长……

维瓦尔第在罗马某政府机关工作，即将退休。他对自己的儿子寄予厚望，希望他能拥有美好的前程。不幸的是，父子俩无意中被卷入一场抢劫，儿子被流弹击中身亡。悲痛欲绝的父亲无法释怀，他开始策划一场漫长、邪恶、决绝的复仇。根据文琴佐•切拉米1976年的小说改编，电影混合了喜剧和荒诞的风格，情节跌宕起伏，主演索尔蒂出演此片时正处于其事业高峰期。

一位深陷债务危机的小地产商乔瓦尼，他不断地向亲朋好友借钱度日，因此落下了差名声。他深爱着他的妻子西尔维娅，破产使两人几乎分道扬镳。为了偿还债务，重新赢得尊严，乔瓦尼决定出售自己的一只眼睛换取现金。同时，他还希望能借此挽救他们的婚姻……

In Naples, a voice from the skies announces one morning that the final judgment will be at 6 p.m. on that day. What follows is a series of vignettes depicting various people's reactions (or lack there of) to the announcement.

"The Witch Burnt Alive"
After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.
"Community Spirit"
Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through.
"The Earth Seen from the Moon"
The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific.
"The Sicilian"
Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories.
"A Night Like Any Other"
Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.

一名富商对工作、家庭、社会产生了厌倦，于是和一个朋友前往非洲，寻找另一个神秘失踪的朋友。后来，他们发现他安然无恙，成为了一个部落首领，周围都是些上身赤裸、身材优美的老婆。他们将重返人类文明社会，但是他们的朋友会否跟他们一起回去呢？

两个意大利士兵被卷入第一次世界大战，他们很想逃脱战争的阴霾，想了很多办法，但是现实无情，总是把他们推到荒唐而危险的境况中。在一次次偷懒成功后，他们却目睹着一次次战友们血肉模糊的战场惨状。终于一个亡故战友的妻子令两人的思想有了变化，在一次对敌行动被俘后两人被处死，但他们的长官却还以为他们照旧做了逃兵。

Agnese has many men who woo her and live with her cousin Cesira, who has the opposite problem with men and wishes she would also have men woo her.

米兰的汽车厂车间主任尼奥（Alberto Sordi 饰）准备利用半个月的假期回西西里老家度假，临行前，他的上司托他给西西里的黑手党头目文森佐带一份礼品。尼奥与妻子玛塔踏上家乡的土地后兴奋莫名，他介绍自己庞大的家族给妻子认识，那些旧日朋友有些死于枪杀，有些正在牢里，还有极少数人因为背叛朋友而成为乡民眼中的行尸走肉，剩下来的那些相识则对尼奥的“米兰味”稍有提防。尼奥拜见文森佐，得到了这位黑帮老人的认可，曾经的战乱年代中，尼奥是文森佐的得力手下。玛塔用自己的努力得到了家人的认可，尼奥也找回了和家乡传统契合的心态。某天夜里，尼奥被父亲叫醒，受命执行一项黑手党的暗杀任务……
本片获1963年圣塞巴斯蒂安国际电影节金贝壳奖。

Cab drivers in certain parts of the world are 'walking encyclopedias'. These individuals know just about everything and can discuss whatever issue with their passengers. Such man is Pietro, or Pie, as he is fondly addressed by his family. Pie, has a heart of gold. When we first meet him he is driving a person and talking about his fortune of having a wonderful family with whom he is going to celebrate Christmas eve. His passenger has another thing in mind, he is about to rob him!
We follow Pie as he goes through his city. There is a hilarious encounter with a Texan couple that feel insulted when Pie thinks they are American stereotypes because the tourist misunderstands what he is trying to tell them. There is a meeting with a would be suicide that asks to be taken to the nearest place to the Tiber, and his attempt at saving her life.
As it happens, famous people also take taxis, as it is the case when Pie picks up Giulio Andreotti, Italy's Prime Minister, with whom he has a meaningful conversation. Pie commits the ultimate sin when he is asked to take one of Italy's famous stars to the French embassy. As he only sees her from his mirror, he thinks he is talking to Sylvia Koscina, when in reality she is none other than Silvana Pampanini! His last claim to fame comes when he is asked to drive the great Federico Fellini to Cinecitta. Insisting in sitting up front, Fellini has to endure Pie's admiration. Unknown to the driver, Fellini is going to appear in a film directed by none other than Alberto Sordi, one of the best actors of his generation.
Directed by Alberto Sordi, the film is a love statement to Rome. We are taken all over the city taking its most notable sites as Pie drives his clients. The film was probably an excuse for Mr. Sordi to show his friends and his connection to a place that was dear to him. The film is mildly funny, an excuse to spend some time with some familiar faces and Mr. Sordi, the man that gave so much joy to so many. Bravo Alberto!

Silvio (Alberto Sordi) is an Italian partisan, he and his companions belong to Italian resistance movement fighting against the Nazis. They are at Lake Como. He is helped by Elena (Lea Massari). He spends three months hiding in Elena's grandfather's mill. They fall in love. Silvio is an idealist, communist, journalist writer. He goes back to war.
The film spans the story of Italy from 1944 to 1960, from the times of poverty in World War II to the birth of the Italian Republic, the elections and Silvio's ideals of the Italian Communist Party, his stay in jail, his disappointments, his crises with Elena, his attempts to get his works published and to sell his film scripts in Cinecittà to Alessandro Blasetti, Silvana Mangano and Vittorio Gassman (they appear as themselves).